N E W S L E T T E R - Radley College

If you haven’t
got the tune
then PLAY
QUIETLY!
a few weeks and often talk of a year’s
sabbatical, the adrenalin rush and
excitement at the end of the concert
inevitably finds us enthusiastically
committing to yet another. Especially
as, now entering its ninth year, the
Extravaganza has become one of the most
attended and talked about musical events
in the year.
There have been some wonderful
moments. Outstanding Radley pianists
such as Jonathan Bridcut (Pilgrim’s,
G Social) (in the first ever Piano
Extravaganza), James Hallinan (Lockers
Park, D Social), James Fryer (Elstree, E
Social), Jonny Williams (Westbourne
House, H Social), Gregory Williams
(Norman Court, C Social) and Jamie
I suppose the blame might be put squarely
on the shoulders of that most poetic
of harpsichordists Sophie Yates, whose
teaching and beautiful playing enhanced
music at Radley in the late 90s. For some
years Radley had put on concerts of
duet, trio and multiple piano music, all
commercially available and fun, but pieces
for more than two pianos or pianists are
sadly rare and limited to a few lollipops.
Upon hearing one of these multiple-piano
concerts however the lively grey cells of the
then Precentor, John Madden, a composer
and arranger of renown and talent, and
myself began to work overtime. With the
haunting melody of the Aria from the
Goldberg Variations emanating from the
fingers of Sophie we put two and two
together and made 21 pianists, 7 pianos and
a harpsichord.
Thus the Extravaganza was born and
the first original, arranged performance
involving almost all the pianists at
the school (dons, teachers and boys)
became a reality; pianists at all levels of
ability were enthusiastically conscripted,
sorry, encouraged, to play in a complete
performance of Bach’s Goldberg Variations.
It began with a solitary harpsichord, the
variations were for various combinations
of pianists at two to six pianos and it
culminated in a final Aria for 21 pianists,
7 pianos and a harpsichord, gradually
thinning out to leave the solo harpsichord.
Never before had Radley heard anything
like this, I still remember the final moving
moments to this day, and it put us firmly
on the Independent School musical map for
keyboard playing and innovative musical
programming.
The birth of each Extravaganza is not
a painless process however; the labour is
long and intense. John Madden delivers his
stunning and inspired arrangements after
many weeks of work, just late enough for us
to start panicking about learning our notes
and focusing the minds of the boys who,
with good will and careful organisation
attend the myriad of rehearsals scheduled
within the final two weeks, often at the
most obscure times up to 10.30pm. The
conscientious way nearly all attend is
brilliant (albeit helped along by free Coke
and crisps) but even so, what rehearsals
we can fit in disappear too quickly with a
blur of emails, reminders, sore backs (after
moving the pianos around each night),
intense and detailed ensemble coaching
and the annual cry (now almost a motto
of the event) ‘if you haven’t got the tune
then please play quietly’.
There is so little rehearsal time with
the pianos all in one venue (usually 3 days,
we simply can’t spare them from practice
rooms for longer) but it may surprise
most non-performers that the hardest
part of all is learning to play piano or
pianissimo in the context of the ensemble.
It does not come easily to pianists, so
used to playing on their own, the centre
of attention, and not having to consider
dynamic balance with other musicians.
Equally, not being able to hear your own
part beneath the sound of those who
enthusiastically sing out their tune is quite
tricky, almost like playing a silent piano.
Added to this is the challenge of hearing
the other pianists across the hall from you;
even the ‘professionals’ amongst us have
come unstuck here. The formula is simple
(play the accompaniment really quietly
and project the melody) but the ensemble
and listening skills are subtle and complex
especially for pianists who, for the most
part, play in solitary confinement. The
end result however is almost always fun,
often accomplished and occasionally
musically inspiring for players and
audience alike.
Whilst we live life ‘on the edge’ for
10 THE RADLEIAN NEWSLETTER